Posts from the ‘Interview Project’ Category

Jessica Richardson Smith is the Research Services Librarian at the Historical Society of Washington, D.C. She pursued three majors—Anthropology, Latin and Greek, and Geology for her Indiana University BA degree from the College of Arts and Sciences. While at Indiana, she used the museum practicum course in the Department of Anthropology to gain a range of experiences working in the Midwest Archaeological Laboratory. That work resulted in a published paper—Tools of the Trade: Chipped Lithic Assemblages from the Hovey Lake (12Po10) and Ries-Hasting (12Po590) Archaeological Sites, Posey County, Indiana (with Cheryl Ann Munson, Meredith B. McCabe and Dean J. Reed). She earned a master’s degree from the Department of Anthropology at the George Washington University and leads the Wymer’s DC project.

Jason Baird Jackson (JJ): Before we circle back and discuss your experiences at Indiana University and George Washington University, I’d love to begin by finding out about the mission of the Historical Society of Washington and your role there. What are your core responsibilities as a Research Service Librarian?

Jessica Richardson Smith (JRS): Sure! The Historical Society of Washington, D.C. is a 122-year old educational and research institution that collects and shares the history of Washington, D.C., emphasizing the local community over the federal city. We are a team of seven who strive to produce diverse public programming and exhibitions, as well as public access to our collections. That’s where I come in as the Research Services Librarian. The core of the Historical Society is our research library which houses over 100,000 photographs, over 800 manuscript collections, and hundreds of maps, prints, and objects—all on D.C. history.

My day-to-day duties consist of working with researchers in our library to help them find the information they need. Whether they are writing a scholarly article or just bought a house and want to learn about its history and their new neighborhood, my job is to help facilitate their needs with what our library can offer. Another facet of my job is to know what the other repositories in the city have. If the Historical Society doesn’t have some piece of information, I want to know where I can direct them.

I love my job—I never do the same thing twice and each day I am learning more and more about this city, our collections, and our members. On any given day, I may meet members of our community and learn about their projects and passions, research a topic in our collection for a researcher working remotely, or help troubleshoot a long-shot research query that someone submits based on a decades-old memory. Every day is something new and every day is something interesting. The best part is when I can apply what I learn one day to a question we get the following week. That’s great. It makes you feel like you are making real headway into learning the complex history of a city like D.C.

Also, because we are a small institution with a big mission, my colleagues and I are expected to wear many hats. In addition to my librarian duties, I also participate in shaping our public programming and exhibitions; I conduct photo research for our publications; I digitize material and tackle rights assessment questions; and I track our library statistics. Each of these things are being juggled on a day-to-day basis, which can be demanding but also very fulfilling.

The Historical Society of Washington, D.C. is located in Washington’s historic Carnegie Library, dedicated in 1903.

JJ: It sounds like you are in a sweet-spot in terms of scale. Your institution is big enough to be doing important, interesting work but small enough that you have not gotten trapped in a specialist silo in which you do only one task over and over again.

Washington is such an incredible place for museums, libraries, and archives. What is it like to work in a small-but-old museum/library in a city of large-but-old museums/libraries? Do you feel connected with GLAM (Gallery, Library, Archives, and Museums) professionals around the city or, like many of our colleagues elsewhere, do the day-to-day demands of the job keep you from connecting to colleagues around the city?

As the Research Services Librarian, my daily duties are often intra-institution focused but I regularly refer our library patrons to other institutions around the city when we don’t have particular resources. While this means I don’t personally interact on a daily basis with my GLAM colleagues, there is mutual awareness of our work through referrals. At the Historical Society, our main collaboration with our GLAM colleagues is through joint public programming, from conference plenaries to archival fairs, workshops, exhibitions, etc.

JJ: I am especially glad to hear that you have not only pathways to connect with colleagues, but that your institution is well-situated enough to support, and to see the value in, outreach, research dissemination, and professional development activities like those you have just mentioned. One of my reasons for being interested in your connectedness to the cultural institutions of DC is that you were trained at the MA level there, at George Washington University. That institution has a unique advantage in that it trains students in a city with so many public collections and so many collections-oriented professionals. Before we turn to your undergraduate experiences at Indiana, could you describe your graduate studies? What did you study? What role did hands-on work play in your career?Read more

Jason Jackson (JJ): Thank you Levon for taking time for this interview. You are looking ahead to your new graduate program, but I am sure that you have also been reflecting on your recent years working as a curator and interpreter of American musical culture. What have been some highlights of your work as a museum professional so far?

Levon Williams (LW): Well there have been many, but here are two that really standout. During my time at the Stax Museum, I had the opportunity to work collaboratively with the non-profit organization Facing History and Ourselves (FHAO). Facing History and Ourselves’ work focuses on empowering young people to be “upstanders” (as opposed to bystanders) by strengthening their capacity for empathy and understanding. Our goal was to create an educational curriculum for middle school and high school aged students centered around the development and music of Stax Records as well as the history of the Civil Rights movement of the 1960s and 1970s.

The opportunity to use the history of Stax Records as a lens through which to explore broader concepts such as Civil Rights history in this manner spoke directly to both my professional and personal goals. Using music as an entry point, we were able to help students frame their own history and related it directly to the lives they live everyday. FHAO were absolutely wonderful to work with on this project and I am very proud of the result. This curriculum includes text, images, as well as several audio/visual elements. It can be viewed here: Sounds of Change.

A second major highlight, was the opportunity to work collaboratively with the Curatorial Team at the National Museum of African American Music (NMAAM) to create what will become the interpretive program for the museums galleries. The NMAAM set open in Nashville, TN in 2018 will house 5 main galleries, a changing gallery and a large area for shared visitor experiences called Rivers of Rhythm. It is shaping up to be something that will be extremely engaging for visitors from various interests and walks of life.

It is not often that one has the opportunity to have input on how a story of this magnitude (the history of American music) will be told on this scale (roughly 1600 sq ft.) Learning about the process of undertaking such a task, as well as working collaboratively to contribute to how the history and music will be contextualized in the story the museum will tell has definitely been another professional highlight.

JJ: Those are incredible experiences. In the case of the FHAO project, an exciting museum effort is closely aligned with positive social change. In the NMAAM, the creation of a new museum is itself a huge change, one that will surely create an important platform for doing good on a national level. How did your previous work in the field and your studies at Purdue and Indiana prepare you to contribute to those endeavors?

LW: I’d definitely suggest that in a way all of your previous experiences contribute to how you approach any given project in one way or another. However, specifically in regards to my undergraduate and graduate experiences, I would lean heavily on my graduate experience having a significantly strong impact.

I was also able to utilize these positions as a platform to build a strong professional network. I established relationships with several people I would come to call mentors. It has been tremendously helpful to be able to call on them during my time in the field. I am eternally grateful to all of them for the support they’ve offered over the years. Their collective impact on my career path cannot be understated.

JJ: I like how you stress the ways that skills development and networking are both part of the practicum/internship/volunteering experience. I also note that you treated libraries, archives, and museums as a diverse but unified sector—what, with the inclusion of galleries, we sometimes call the GLAM (galleries, libraries, archives, and museums) fields. You have finished up your work at NMAAM and are soon to return to IU as a student. What will you be studying and what are your goals for your program?

This fall I am returning to IU to pursue a Master of Public Affairs degree in the of the School of Public and Environmental Affairs. My focus will be Nonprofit Management. After spending close to 5 years in the field I felt this area might be one where I could make an impact of significance. I am a strong believer in the importance of a strong and supportive organizational culture. I feel that strong support and sustained investment (financial and otherwise) in creating and empowering strong leaders is especially pronounced in the Nonprofit sphere as organizations are often understaffed and may not have salaries that reflect the impact of the work they do. I feel an environment that is energizing and offers the potential for professional and personal growth goes a long way to keep staff passionate about the mission they serve.

On a personal note, my hope is to broaden my Administrative skill set and to return to the field with a strong foundation in best practices for operating healthy Nonprofit organizations as well as some practical experience as well. The SPEA Nonprofit Management program stands to significantly deepen my understanding of many of the Administrative elements of leadership in Nonprofit organization such as budgets and philanthropy in general. I strongly believe a better understanding of how these concepts all work together will prove invaluable as I continue my career. The program also offers a Capstone project that I am very excited about, as it will afford me the opportunity to apply the concepts I will be learning in class to real world scenarios. I look forward to possibly returning to museums or working with other organizations in the Nonprofit sphere once I have completed my degree.

JJ: The leadership needs that you’ve identified for the non-profit sector are certainly pressing. I am excited for you that you have this new opportunity to return to SPEA and secure this additional training. I look forward to keeping up with your work, both in the nonprofit management program and throughout your career. Thank you for sharing your experiences with me. Good luck with your new round of studies.

Jason Jackson (JJ): Its great to catchup with you Dorothy! Congratulations on your new post at Minnesota. As you know, I am a huge fan of the work being done at the University of Minnesota Libraries, thus I am really eager to catchup with you and your efforts there. Umbra sounds very ambitious in terms of its technical work, its institutional partnerships, and its culture-changing goals. What is it all about and how are you beginning to contribute?

Dorothy Berry (DB): Umbra is ambitious in scope, indeed! In clear technical jargon, Umbra is an African American digital archives aggregate. It will provide an accessible interface for researchers at various experience levels to explore African American archival materials from across a wide variety of repositories, from huge institutions like the Smithsonian to smaller, but still vital cultural heritage sites like the Jacob Fontaine Religious Museum. Umbra works as a gathering place for African American collections, placing far flung digitized holdings within the broader context of African American history.

Up until now, Umbra has primarily worked with its over 500 contributing institutions to get their already digitized holdings accessible through the site. My position as Metadata Specialist and Project Manager is part of a Council on Library and Information Resources funded grant to digitize over half a million holdings from over 70 collections across the University of Minnesota Libraries system. U of M library staff and faculty have already gone through their wealth of collections looking for hidden records related to African American history—collections which on their face may not be directly related to Black history but have turned out to have breadcrumb trails leading to newly contextualized rich resources. At this point, we are in the digitization and metadata augmentation stage. There is a fantastic cadre of student workers doing large batch scanning and quality control. My position involves supervising their work, as well as using my research background in African American history to add to the metadata for these recontextualized items, making them more easily findable to future scholars studying Black history both in Umbra and in U of M’s Online Finding Aids and UMedia. Not to mention, of course, documenting the process along the way so that other major institutions can potentially implement a similar hidden holdings digitization plan for marginalized histories within their own collections.

In spite, or perhaps because, of the broad scope of the project Umbra has very clear pathways from both the front and back ends. My fellow Umbra team members with more forward facing positions are really masterful at organizing with stakeholders from all levels of participation and creating an aesthetically engaging and community engaged portal, and this massive addition from the University of Minnesota Libraries will go even further in making Umbra a research destination.

JJ: That sounds awesome. I look forward to using it in my own work and teaching! In my experiences visiting there and talking with librarians and campus leaders, I came to see that Minnesota has long been a leader in special collections development and has advocated an approach to access that is mindful of broad and diverse community needs. It seems that your work there is a part and parcel to a wider embrace of open access values and practices. There is also the context of the Big Ten Academic Alliance—what we until recently called the Committee on Institutional Cooperation or CIC. Minnesota is part of a community of universities and libraries committed to working on such things in an innovative way. Indiana University is part of that environment too. How have your graduate studies and the hands-on work that you did at IU prepared you for the work that you are now doing?

DB: I think the wealth of hand’s on opportunities available at Indiana University are what have most prepared me for professional life. While a graduate student I had a two year assistantship at the Archives of African American Music and Culture, one year at the Black Film Center/Archive, a year’s practicum at the Mathers Museum of World Cultures, and a semester practicum in the Film Archive. Librarianship in particular is a field that expects its emerging professionals to already have a wealth of experiences before getting that first full time job—I don’t believe I’ve ever really seen a job listing that didn’t ask for at least two years experience, unless it was a specific “recent graduates” oriented position (few and far between!). Having the opportunity to work at a variety of cultural heritage repositories in both front and back of house positions, exhibitions and cataloging, really set me up to have a set of skills and experiences that demonstrate competency, even from a very recent graduate.

On the academic side, I think the pursuit of a dual masters is really key for reaching new levels of accomplishment in archives and museums, especially when it comes to dealing with marginalized people’s collections. My job involves adding value to pre-existing metadata—something that requires technical archival skills, but also a focused research background. Every archivist I’ve known has great research abilities and can quickly become an expert in the collection they’re currently dealing with, but I think specific experience with rigorous research in a specific area leads to richer and more diverse finding aids and exhibits. Studying ethnomusicology was particularly of use as it established a research praxis that values discrete cultural intent, which is useful when working with marginalized people’s collections, but also with historical collections as well. My focus has always been on historical ethnomusicology, and I’m a proponent of the idea of research-based historic ethnography. I believe that work in understanding historic lived experiences from the perspective of the day is integral in fairly representing archival collections, which is increasingly important in the more widely accessible world of digital archives.

JJ: That is a great expression of the value of both hands-on work and interdisciplinary or multi-disciplinary academic training. You also stress something that I also care about, the continued importance of historical work in ethnographic fields that have often become very present-centered. In your concern for the historical experiences of marginalized groups, I hear you rightly stressing the need to understand and represent such peoples in their own historical contexts. This is part of the Umbra mission, as I read it. But this initiative clearly is also doing important social or political work in the present. Umbra’s name reminds us, for instance, of “a renegade group of Black writers and poets who helped create the Black Arts Movement in the 1960s.” I cannot stop thinking about all that is happening right now in our tragic, shared American present. What are some of the roles that you emphasize when you think about the work of the archivist and curator of African American cultural materials in the present?

DB: What’s most important to me as an African American archivist/Archivist of African American materials is to use the past to inform the present that Black history has always been filled with a gradient of experiences, emotions, activism, and suffering. Because African American history is taught at a very surface level, usually beginning vaguely before the Civil War, people of all colors often come away with a historical timeline along the lines of “Antebellum slaves-Civil War-Maybe Harlem Renaissance-Civil Rights Movement-People had Afros-Hip Hop in the 90s.” Archivists have the ability to show materials from the hands of African Americans and people of African descent from the earliest periods of North American colonization, showing not only that Black people have always been here, but that those Black people were not tropes pushing forward a linear narrative of American history. Primary documents have the ability to humanize in a way that even the best written non-fiction book cannot, and Archivists are the gatekeepers for this information.

I think we are in a time of extreme hunger for this sort of history, in the face of racism that says Black life is one-note and useless. Letters, publications, notes, films, photos—they force people to see that Black life has always been an integral sinew in the American corpus, and that Black people are human. That phrase “that Black people are human,” should be trite but we live in a segmented society that has long seemed to view African Americans as symbols, as stand-ins for cultural and social issues. Fleshing out human experience is an incredibly important role for all cultural heritage workers, but I think archivists have a really unique ability to share things that can completely turn a worldview on it’s head.

I love African American musical theater of the turn of the 20th century, and people usually get a chuckle out of how obscure that topic sounds. At the end of the day though, it was not an obscure topic at the time—we are talking about celebrities amongst Blacks and Whites, who staged financially and culturally successful performances and were well-known enough to have invitations for private performances from the Rothschilds and the British Royal Family. When the average person thinks of turn of the century Black life, they might think share-croppers, Great Migration, Jim Crow. Those are all realities, but so are popular entertainers and more frivolous things—because Black life has always been diverse and complex (something always assumed of White American populations, but rarely of Black ones).

At the same time, I think it’s important for people who work in historical contexts to not get so comfortable in the past that they ignore the present. When I am speaking on archival objects from the past, I do so to inform and complicate understandings of the present. One of the best recent examples of addressing contemporary understandings while exploring a historical document can be seen in Musical Passage: A Voyage to 1688 Jamaica. This project explores some of the earliest transcriptions of African diasporic music in the Americas using two pages from a 17th century book called Voyage to the Islands of Madera, Barbados, Nieves, S. Christophers and Jamaica. Decisions like referring to the planter class as “…people involved in colonizing Jamaica and enslaving Africans in pursuit of profit” might seem trivial, but is a powerful step in discussing archival history without traditional deference to a presumed white readership.

The other role I find incredibly important, personally, is that of someone who is a vocal trained expert who is not easily cowed. This is a role of personal importance because I do not think it is necessarily required of every archivist of color or person working with marginalized people’s collections, but it is one that I try to fulfill as someone with the disposition and positionality to feel comfortable doing so. I have found that many White scholars in a variety of fields assume that people of color who work with materials from their own ethnic/racial/cultural groups are not true scholars—that their expertise comes solely from lived experience and personal opinion. Lived experiences and personal opinions are not without value, of course, but it is important for me to stop those fellow scholars and say “Oh, I hear that you are devaluing my expertise, but we are actually going to talk about this right now.”

I was recently talking to two very intelligent medievalists and said in passing that “race is made up.” They both know me as someone with multiple degrees and professional experience working with archival materials, but one of them immediately scoffed and brought up the dreaded specter of “internet social justice warriors.” I could tell this was something I was supposed to let slide, but instead began a discussion on the undefined “white person” of the 1790 Naturalization Act and the various court-cases and social movements that followed in attempts to create meaning for “white person.” This type of intellectual and emotional labor is, in brief, a pain. I personally find it remarkably important, however, to use my role as a researcher and archivist to plant Black history firmly in the minds of fellow scholars who might, consciously or not, attempt to ignore the historical and archival record solely because they don’t understand or like the 21st century discourse around race.

JJ: Given that talking such issues through over and over again for the larger social good is, as you note, a pain—even as it is also remarkably important—I am very thankful that you were willing to speak to them so eloquently here in the context of your work. In further shaping your understandings of them and in the professional practice that you pursue around them, did you find mentors and allies here at IU during your studies? My hopeful self hopes so, but my worried self worries “not-so-much.”

DB: I don’t know that I’d say I found mentors but that is mainly because my personality doesn’t really seek out that sort of individual one-on-one relationship, for better or for worse. I found many, many people who provided intellectual, professional, and sometimes even emotional support, however. Within the department of Folklore and Ethnomusicology, Fernando Orejuela has always been a great champion and someone with whom I could discus navigating the racial and social problematics of academic life. My time working at the Mathers was fairly instrumental as well, because I had the opportunity to talk with people working with collections, exhibitions, curation. I found everyone there very supportive of professional intentions/potential and was given a lot of opportunity to discus processes and learn. In the other degree side, I spent a lot of time working with Andy Uhrich and Brian Graney, of the University Film Archives and Black Film Center/Archives respectively. They were very much super-allies of the Dorothy-cause, providing again that combination of education and professional freedom that I think is really valuable for graduate students. Graduate students need to learn huge amounts, obviously, but without hands-on projects the job market outside of academia doesn’t really care how many papers you’ve read. There are other professors, Judah Cohen in the Jacobs School [of Music], Terri Francis in the Media School, who really encouraged and challenged me intellectually.

I think there are definitely people at IU who presented serious problems for me, but that is to be expected in life! It is an effort to find and pursue the people that can add to your experiences, but for me it was certainly worth it.

JJ: I am obviously glad that the MMWC provided some of the useful opportunities that you drew upon and took advantage of. I am also glad that you took the Curatorship course and then followed up with hands-on projects at the museum. Engaging a diversity of people and organizations seems to be one key lesson that I read out of your experience. I know that the museum and I benefit from the diversity of students and other stakeholders with whom we engage.

In your new role, you are encountering many different collecting organizations, collections, and collection items. Is there one—at any of these levels—that has really struck a chord with you and that you would like to narrate? (This is the “favorite object” question reworked in an archival context, of course.)

DB: I’m so fresh into the position I haven’t had too much to explore, but in my first week I came across some really interesting holdings in the Social Welfare History Collection. I was pulling files and enriching metadata from a large collection called the Verne Weed Collection for Progressive Social Work, that holds the papers for a variety of activist social workers. That collection contains the Jack Kamaiko Papers, and a subsection of those papers were marked as relevant. The files all had titles along the lines of “USS New Orleans Segregation,” so I originally thought, “Hmm maybe this is someone who was fighting against segregation in the Navy? Maybe a lawyer, maybe someone who was discriminated against themselves?” When I looked through the first file, however, it was all correspondences dealing the the purchase of the Senator Hotel in New Orleans. I had no idea what that could possibly have to do with anything. I tried Googling, and came up with maybe two relevant results that all hinted at the real story.

In the 1940s, the United Seamen’s Service, a non-profit that works for the welfare of seafarers by providing services and local information, attempted to purchase the Senator Hotel to provide recreation and temporary housing for both African American and White seamen. Though the housing would be separated into two segregated wings, with separate entrances, local forces in the French Quarter railed against the close proximity. Jack Kamaiko, who would later go on to become a well respected professor at Hunter College’s School of Social Work, was employed by the United Seamen’s Service and kept letters, telegrams, and ephemera detailing the eventually unsuccessful purchase. These kinds of materials are exciting because while they are accessible at this point to scholars who know where to look, once they are digitized and added to Umbra Search they will be easily discoverable for anyone simply searching for “Segregation in New Orleans.” That kind of fleshing out of the historical record, showing the ongoing fights for fair treatment, provide the “vindicating evidence” that Arturo Schomburg described as his intellectual pursuit. Evidence that Black history is now and has always been, American history.

JJ: That’s an interesting collection and a great point to close on. Thank you so much for sharing your work with me.

Jason Jackson (JJ): Hannah—I am so happy to be doing this interview with you, especially just as you are getting settled into your new role as a public folklorist in upstate New York. Could you describe your new position?

Hannah Davis (HD): Since June 1, I’ve been working as a contractor for the New York Folklore Society and New York State Council on the Arts. I’ve been tasked with doing a folklife survey of nine counties (six in the Finger Lakes and three in the southwestern corner of the state). I’m also responsible for coordinating a few public programs with smaller regional arts organizations and acting as a consultant in the planning of future folklife-based programming. The state of New York is unique in that it has an organized network of folklorists working in many different capacities. This position was created as a way to serve counties that are not otherwise served by folklorists.

JJ: For those who are reading about such work for the first time, what goes into doing a multi-county folklife survey? How will your findings translate into further research and eventually presentations, publications, or other outcomes?

HD: Surveys involve, in many ways, all the fun parts of working as a folklorist. Between now and the end of my contract, I will have conducted dozens of interviews with all kinds of artists, musicians, and other informants, and crisscrossed the state documenting fairs and festivals. I’ll record, photograph, and film as much as possible.

Especially when a survey includes so many unique communities, it’s important to stay organized and keep your eyes on the big picture. There’s only one of me, and so many hours in a day. This is not intended to be a comprehensive survey of all the traditional arts and culture that one may find in each of my nine counties. Rather, my goal is to be able to paint a picture for our partner organizations of the kinds of traditions that exist in their service areas, and the ways in which they may continue to do folklife programming in the future.

It’s important to me to respond directly to the needs of these organizations. The Auburn Public Theater, for example, is interested in doing a narrative stage, during which informants will engage in a conversation with each other about a specific topic, and their audience will be able to interact and ask questions. As I’m conducting fieldwork in their service area, then, I will make note of informants who seem to particularly enjoy discussing their life and work. Towards the end of my contract, I’ll work on organizing photos and recordings, transferring files to others, and drafting my programming recommendations. It’s possible that parts of this project will turn into more long-term work for NYFS. I’ll also publish a few articles discussing my work in NYFS’s journal, Voices: The Journal of New York Folklore.

JJ: It does sound like it will be a lot of fun. You know you will meet great people but you do not yet know who they all are or what they are passionate about. How did your work in Indiana and Kentucky prepare you for your new work in New York state?

HD: Exactly! A big part of my job at TAI [Traditional Arts Indiana] was transcribing, logging, and organizing materials collected by fieldworkers. I’m grateful to Jon Kay, the organization’s director, for introducing me to basic ethnographic methods through this kind of work, and allowing me to participate (even as a college freshman!) in collaborative projects like the one I’m tackling now. Certainly, entering my grad program already comfortable with convening meetings, drafting grant applications, and planning public programs allowed me to work more independently at the Kentucky Folklife Program. My time in Indiana and Kentucky really equipped me to take a “big picture” approach to my work here in New York—I didn’t just learn how to do fieldwork, I learned what to do with fieldwork.

JJ: That is good. As we continue working with students in TAI and at the museum as a whole, your experience will be a source of encouragement. On the flip side, what kinds of experiences do you wish you could have had while at IU and WKU? What are you surprised by as you get going in New York?

HD: I certainly wish I had been able to take some [undergraduate] public folklore classes to complement my work at TAI. I didn’t really understand the origins of the field I was working in until I began graduate-level classes at Western. Once I got to Western, though, I really missed being able to take advantage of the diverse programs offered at IU. Pursuing my interests in digital media, for example, became a lot more difficult. There’s only so much you can study and prepare for, though! There’s a lot to be said for just diving in.

This might be a silly answer, but honestly, I’ve been most surprised by how smoothly things have gone. I don’t mean this to be self-congratulatory at all—the people here have just been so kind, and so happy to share their work with me. When you’re learning how to do fieldwork, you hear a lot of horror stories. I don’t have any yet!

JJ: Building up undergraduate course opportunities for public and applied folklore work is on the agenda at IU, as are opportunities for public humanities involvements more generally. Your reflection contributes to the making of the case for such efforts. I am glad that you have no horror stories and I hope that things continue in that vein.

HD: That’s great to hear.

Hannah photographs a recreation of a Viking ship at the Scandinavian Folk Festival in Jamestown, NY.

JJ: What are you learning about public folklore infrastructure in New York state? Things seem really strong there and this seems to be a longstanding pattern

HD: The infrastructure here is part of the reason I was so excited to take the job. There are capable and accomplished folklorists, including a few IU students and grads, working across the state. Many are within arts organizations, some work more independently, but they are all part of a collaborative network loosely bound together by Ellen McHale at NYFS and Robert Baron at NYSCA, who both work hard to support what we do (financially and otherwise). Their leadership has been crucial to the longstanding pattern you’ve noticed.

JJ: What is one cool cultural discovery that you have already made as you begin to learn your way around your part of the state?

HD: Word on the street is that there’s a game called “roque” played in the western part of the state. I hadn’t heard of it until a few days ago! An annual tournament is held in Angelica, a village in Allegany County, during the community’s Heritage Day celebration. It resembles croquet, but has entirely different rules. Readers might be interested in this 2010 ESPN article.

JJ: I knew you’d have something great to share and just like that you serve up roque. Hopefully we’ll all be playing it soon, or at least watching your documentary!

Here’s two to go out on. If you could share a word of counsel with an IU sophomore with an interest in a humanities career, what would you say? As an alumna, what would you share in conversation with our Provost or President about your training at IU.

It’s scary to think about how recently I was an IU sophomore. Feels like it’s been ages! Here’s what I’d say: “It will be okay. There are jobs.” Sincere commitment to an interest goes a long way at IU, especially in the Department of Folklore and Ethnomusicology. I knew as a freshman that I wanted to graduate as a folklore major, and it was entirely because of a pep talk from a grad student who saw some potential in me and sent me to talk to Jon [Kay]. With the guidance of wonderful professors like you, Jason, and some very honest graduate students, I became a success story. And there are so many others. I’m proud to be an IU alumna, and to be part of the community that the department has fostered. A degree in the humanities is not a death wish.

To the provost and president, I’d say this: “My training at IU made me the professional that I am today.” I’ve been thinking a lot about my time at IU since yesterday’s announcement about the department’s move to the Classroom Office Building. I met some of my nearest and dearest friends and mentors in the TAI office. Our buildings were run-down. They were not accessible to members of the community with different physical capabilities. That’s a terrible thing. But they were home, and I’m sad that I won’t be able to go back there. The department is a whole lot more than a cluster of neglected brick buildings, though. It’s an incubator, it’s a community, and it’s a wonderful thing to be a part of. I couldn’t have learned the things I learned there anywhere else.*

JJ: Thank you Hannah for sharing your experiences with me and with our readers. Keep us posted on your adventures and come back soon and teach your Bloomington friends how to play roque!

*In her closing remarks, Hannah is referring to the offices of the IU Department of Folklore and Ethnomusicology from which she earned her BA and in which I serve as a Professor. The department’s offices and seminar rooms in a cluster of four historic brick houses located adjacent to one another on N. Fess Ave. and N. Park Ave in Bloomington have, for alumni, staff, and faculty, become icons of the department over the course of many decades. In July 2016 it was announced that the Department would be moved to new more modern and accessible quarters in a university building known as the Classroom Office Building on 3rd Street, across from the campus’ historic “Old Crescent” area. The department looks forward to showing off its new home to returning alumni very soon. (JJ)

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About this Site

I am a Professor of Folklore, and of Anthropology, at Indiana University, where I also direct the Mathers Museum of World Cultures. This site provides information on my museum, teaching, and research work, while also conveying some news and information relating to students and colleagues with whom I work and the projects on which we collaborate.